「봄·봄」의 OSMU와 스토리텔링 양상 연구

Abstract

The purpose of this study is to clarify the changing aspects of storytelling that the novel 「Bom·Bom」(1935) as one of archetype contents becomes OSMU to a film <BomBom>(1969), TV Drama Theater <BomBom>(1983), HDTV Drama Theater <Bom, BomBom>(2008). To this end, the study focused on the common grounds and differences between story as the One source and story that was remediated by media and genres. In the novel 「Bom·Bom」, the conflict between 'I' and father-in-law is plotted as a sequence of reversal events, which shows the characteristics of novel media with free movement of time. Due to fore-grounding of the narrating self, 「Bom·Bom」makes the audience feel the sense of presence that hears the inexorable inner monologue of the character, making distance to a silly, inexperienced and Unreliable narrator, but on the other hand, it brings sympathy. The film <BomBom> actively utilizes the subplot that mediates the conflict between Bongpil and Chunsam or emphasizes the role of ancillary characters. In particular, the triangular relation plot of Chunsam and Mungtae surrounding Jeomsoon strengthens the exoteric melodrama elements. Insertion of fantastic scenes in the consciousness of Chunsam makes the audience expect future events and redoubles fun of the movie. HDTV Drama Theater <Bom, BomBom> shows a lot of differences from the novel 「Bom·Bom」 because of the change of imaging technology and the deviation of the time. <Bom, BomBom> exhibits the contemporary nature of TV drama reflecting the society and the times in which the power and authority of women are expanded through characterization of open and subjective female characters. At the plot level, <Bom, BomBom> astonishes the audience through the surprise that Deokbae handed his passbook to Byungsoo at the end, making the audience reconsider perception of Deokbae. Meanwhile, in the novel, conflicts between me and father-in-law are narrated by one-sided confessions of the narrative self and on the other hand, conflicts in the film as visual media and drama are expressed visually and directly. The conflict between Deokbae and Byungsoo is treated as a close-up of their faces, or the act of mutual quarrel is shown as a scene by a medium shot. Such editing contributes to making the audience have intimacy with the person and to forming a comic character in addition to the melodramatic elements like a movie, With a high-definition and wide-screen HDTV technology, <Bom, BomBom> also produces movie-like images. The panoramic shot of the peaceful grassland of Jeju Island creates an idyllic and romantic storytelling space, and object elements and such as lodging and old closet are treated as mise-en-scene, which reveals visual metaphor of Byungsoo's mind to the Hyeeun. To sum up, while borrowing core events of novel <BomBom>, film and drama acquire new narratives and meanings through storytelling strategies suitable for the characteristics of media and genres. Media technique and technology, interaction with audience, socio-cultural context, etc. depending on change in times and genre have an influence in this storytelling strategy.